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What if there was a character in Stanley Kubrick's classic movie 2001: A Space Odyssey who was an audiophile? Aboard the Discovery One interplanetary space ship, what would his system look like? He'd probably have a pair of ultramodern speakers that could pluck sound out of the ether. He'd control the system with something like a present-day smartphone or tablet, commanding the HAL 9000 computer to play his favorite songs. The speakers would stand unobtrusively in a white room with 1970s modern-minimalist furniture, no rack of components to drive them, no wires connecting them, no shelves of physical media to play. And they would fill the room with music.

I am sitting earthbound in my living room almost a quarter-century beyond the year 2001, living a similar scenario with the Focal Diva Utopia streaming amplified wireless speaker system. My living room is not at all reminiscent of the Discovery One with its rotating central interior (footnote 1). But with the Diva Utopia system, I feel more in a sci-fi future young me might have imagined than with any hi-fi component I've reviewed so far. About the only thing the Diva Utopia has in common with the stereo systems I grew up with—and with my current reference system—is two floorstanding cabinets and diaphragms that move air to make sound.

Audiophiles are often misunderstood as mere hobbyists; in fact they hold a profound reverence for sound. Japanese jazz kissas, where vintage vinyl, turntables, tube amplifiers, and horn speakers have drawn audiences since the 1950s, exemplify this passion. Western audiophiles share a similar fervor, though our pursuit of sonic perfection often manifests in a more discreet, almost monastic, lifestyle.

Shinobu Karaki, a 65-year-old electronics designer, is the founder and chief designer of Japan's Aurorasound. A music lover first, an audiophile second, and an aspiring jazz and classical guitarist, Karaki crafts phono stages, step-up transformers, preamplifiers, power amplifiers, and integrated amplifiers for his Yokohama-based audio company.

Keith Haas and Rob Standley of Playback Distribution, PMC loudspeakers, and a gaggle of men in suits from Esoteric brought a big, banging, no-holds-barred system to Tampa.

Johnnie Bergmann (Bergmann Audio) and Vassil (Taiko Audio) guided me through the elaborate configuration of this expensive system—thankfully, as my brain was already fried by midday Friday.

Under the leadership of Steve Jain, Fidelity Imports brings to market a selection of exceptional brands including Diptyque, Primare, Unison Research, Opera Loudspeakers, Gold Note electronics, Q Acoustics, and Acoustic Energy.

Lucca Chesky and Cambridge Audio’s Steve Novakoski presented the Chesky Audio LC1 Bookshelf Monitor ($498 each), which made a big splash at Capital Audiofest.

The first album I ever bought with my own money—cash earned mowing neighbors' lawns—was a British plum-label pressing of Led Zeppelin II. It was 1971. I rode my prized Raleigh Chopper bike from our home on the coast of Denmark down the road a couple of miles to the local record store in a small town called Hørsholm.

After entering the store and browsing for a few minutes, I mustered up sufficient courage to head to the counter with the second Zeppelin LP and ask to listen to it. All was musical bliss for a few minutes. Then just as I was really getting into it, about halfway through "What Is and What Should Never Be," the clerk decided I'd heard enough and rudely interrupted my listening session with a "get lost kid" look on his face. I surprised him by pulling out my lawn-mowing cash and buying the album. I pedaled home furiously, as fast as I could, and slapped my first LP onto the family Garrard Autoslim, which I wrote about in Spin Doctor #11.